The images below show some of my stone+air artworks constructed recently from stones found at the sculpture fields at Hogpen Hill Farms in Woodbury, Connecticut. Not all artworks shown are finished, and most undergo a process of editing and revision lasting for several months after initial construction. Hogpen Hill Farms open house will take place Saturday, June 13, 2015

I think of the pieces as being made from two materials, stone and air. Much of thinking about the works is devoted to seeing and reasoning about the airspaces generated by positioning the stone. The work is also installation art; the artist controls the artwork's location, shapes the surrounding land, creates platforms for views, and plants architectural evergreens nearby.

As the works are completed, I will try to write more about them. For now, here are some artworks that are, I hope, beyond words.

A prop piece, as a large stone is propped up by a smaller supporting stone.
In making a prop piece, the angle of intersection requires careful study.

Below, the yellow tool (a pick) is about 42" long (for scaling);
the unusual image color-processing helps place the trees in the
background and accent the stone surfaces:

A continuous flowing piece designed as a whole around
the 4 major airspaces in gaps between vertical supports:

The Walking Wall, with ramped access to the top surface.
I had the High Line in mind, as even this modest elevation
here (about 34") results in a substantial shift of viewpoint.
The supporting wall breaks away from traditional walling
("maximize volume of stone in a wall") by creating airspaces
and see-throughs to make a lacy wall. So the wall is about
30% to 40% air. Air is a material.

Both the gate and the sphinx are about 18 feet or 5.5 meters in height:

We fractured these stones, resulting in cubist three-dimensionality.
Fracturing exposes fresh bright colors, planes, edges inside the
original unbroken stone. This piece continues on for about 40 feet
or 12 meters, at varying heights up to 16 feet or 5 meters.

Two huge megaliths, 80 to 100 tons of stone total. I forget about raw
mass/tonnage a few weeks after putting such artworks together, but
during construction it is about overcoming gravity, de-massing, making
the airspace and stonespace optically move, even float, without weight.
And about careful rigging practices and safety ("Never get under a live load." "Stones can bounce when they fall." "Keep your hands and body
away from pinch points."). The piece in the background here also appears
in the first two images beginning this report.

Below, I started working with Dan Snow in January 2012. We first did
these lacy walls, with the upper part only one stone wide. Some old walls in Ireland are wonderfully lacy with see-throughs and good airspaces.
Dry walling (without concrete or filler) usually requires that each stone touch 4 others, which is usually the case in these two lacy walls.

The images below show the process for making these artworks.
Dan Snow,
the amazing stone worker and waller, worked
with me on many stone pieces.

Here I am happily cleaning up newly constructed megaliths.
The water etches out cracks in the stone and also reveals
the complex surface texture of the stone.

These two images show my messing-around clay sandboxing (at 1/48 scale), photographs, and lots of sketches that help reason about the air and stone.
But the final architecture of the work is done at full scale with real stones. Complex air-spaces and stone-spaces are notoriously difficult to understand by means of flatland sketches/photographs and scale models. A much richer understanding is achieved during the actual construction and the follow-up revisions (which may take several months). Still, scale models, handwaving,
and flatland sketching/photography contribute. Whatever it takes.